Black Light Burns Holes In Bedsheets

It’s been a little over a year since Wes Borland, former Limp Bizkit guitarist, released the material from his creative output known as Black Light Burns. Since then, he’s gone on to underground success for his new act; tearing up club stages, and displaying a much more gothic styling to his former stage persona. For the most part, he’s had a good deal of nice reviews for the debut album Cruel Melody, but there are always naysayers no matter what you do or who you are. Still, fans of the band have been eager to hear the next album from the act, as Borland said that he will waste little time hitting the studio up to release it. Then, it was announced that the next offerings from the band would be a CD/DVD combo. The anticipation rose. Then, it was announced that the CD would be full of covers and other little odds and ends that didn’t make the debut album. At that point, the anticipation froze. “Cover album? WTF!” the fans said. Then, when they announced the list of cover songs, it was revealed that you couldn’t find something reasonable to allow hearts to soar for eagerness of hearing the BLB crew ripping through the tunes. But, still, as shaky as the fans were, they were still oddly curious to know what the material would sound like. Me, being a fan of the band, I was similarly eager, yet slightly put off. After all, BLB is an Industrial band. There aren’t any Industrial covers or material that inspired Industrial music being thrown in the pot.

So, when I received the album, you could only imagine my wanting and stalling of hitting the play button to listen. Still, curiosity always controls in the end, doesn’t it? The moment it came on, I will admit, I as still riding the fence. But, the twenty second mark hit, and I found myself lost in the world where Black disappears and White glows with a blue hue. The cover of Lard’s “Forkboy” sounded incredibly energetic and extremely chaotic. Borland’s vocals on the track, amazingly, are really great. He doesn’t even sound like Wes. He sounds like a man possessed. A creature hidden inside of the enigmatic music maker. Something that headbangers would flock to see in a live performance. The song assaults the listener with its aggressive guitar work and the hair-pulling visualization of the singer in front of the mic. In truth, it took me back to the days of the Broken EP. If you don’t know what that is, then you’re really wasting your time reading this review in the first place, aren’t you?

What followed next was the thriller, Love And Rocket’s “So Alive.” Again, outside of his realm, Borland’s vocals seem perfect. The Industrial reformation of the song seems so brilliant. It isn’t heavily distorting, nor isn’t playing a quiet backseat role to the movement of the melody. Like a fine Chef’s work, it seasons the song just right. The Post-Punk attack that is Sisters Of Mercy’s “Lucretia My Reflection” seems like it would be such an off-shot for Borland & Co. Yet, with his insanely brilliant insight, he tames that beast and makes it his bitch. Riding it with such insecure confidence that you’d might even want to go and check his location of birth . . . maybe he’s a Brit in disguise. It perfectly captures that “Look at me, I’m shying away” feeling that Robert Smith tagged as Post-Punk Perverted Cynosureness(he didn’t create that term, I just tagged him as that).

There are some really odd parts that might take a few listens to get it easily down to swallow. Like their rendition PJ Harvery’s “Rid Of Me.” Don’t know, but after hearing the great covers before it, it just sets out as being awkward. Another one is Fiona Apple’s “On The Bound.” It’s not bad. It’s just so far fetched from what you’ve been hearing. That is, of course, if you never heard Borland’s Big Dumb Face. And, speaking of BDF, they even do a cover of one of their songs “Blood Red Head On Fire.” I always thought it was odd when someone does a cover of their own songs. Is that even truly declared a cover? But, I will state that it is a more cohesive sound than the original. I suppose because he has an actual band doing the positions and it isn’t all on him.

After the 10^th track, the music is switched over to original compositions by the band. What kicks it off is the song “Drowning Together, Dying Alone.” It, for the most part, is the sister track of the song “New Hunger” that was featured on their first LP. Housing acoustic guitars in place of electronics and electric guitars makes the song more mellow and dreamy . . . despite its morbid title. Also, being entirely instrumental sure helps with that. “Falling” also contains material heard before. Expanding on a solo that was featured on the debut album, as well. The slightly goofy electronic melody played throughout (I couldn’t tell if it was simply a guitar with a weird effect or an actual electronic styling) sounds almost like it’s 8-bit/Chiptune styled.

Mr. Borland dives deeper into the Industrial world on the track “Ribbons.” Though it’s under a minute and a half long, it leaves a lasting and eerie impression on listeners. Something that isn’t easy to accomplish, and you wouldn’t have actually expected from this unexpected guy. This song starts the trend of very schizophrenic songs that follow after it. Stuff that seems to have been created when Wes wasn’t eager to take his medication. Stuff that, though it’s so strange, you find yourself questioning your own sanity for your enjoyment of it.

All in all, this album is not only a surprising one, but one that I feel bad about having questioned it in the first place. All those out there that are on the unknown about checking this out, and have enjoyed the first album needs to go out on a limb and snatch this up. In a very bold statement, I will encourage you to download this first, to see if it does tickle your fancy fully, then, if it does, purchase it and support him. Though he does come from a heavily commercial band, he is now on the underground circuit. So, every piece of support does let him know that his efforts at branching out are worth it.

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Dropz Drip Out Sonic Absinthe

You ever sit around in a quiet place and have music playing in your head as if you have a mental jukebox? Being that I can’t hear you answer that question, I’ll just move on as if you answered and I didn’t care. Well, that happens to me quite often. Which I guess by today’s clinical standard, that should mean that I should be on some sort of pill. But, I like my little internal music. Sometimes it’s a song I never actually heard before being played in it. More often, though, it’s music that I’ve heard before . . . just not recently. Well, such was the case a few days ago. And, the song was “The Concept” by the band Dropz. I asked a friend of mine, who shares a similar love for Sneaker Pimps as I do, if he ever heard Dropz’s album Sweet Oblivion or any music from them. He responded with no. At which point I was not only floored, but forced to play him hear a few songs from them. While that was going on, I thought about how many people never knew that the band even exists(ed?). So, I decided to cook up a review of their album in hopes to spark interest in their music. Let’s begin, shall we?

The aforementioned song “The Concept” opens up the album. Which is a very groovy way to do so, with the song housing the lines “There’s a Beast inside of us”  for the chorus. Everything about the sound is somewhat familiar to anyone who has heard the Becoming X album by Sneaker Pimps. That will be for two reasons: 1.) The main composer of the music, Hoshino Hidehiko aka Hide(from the J-Rock iconic band BUCK-TICK), listened to that album heavily when he was crafting the sound for this album; 2.) The lead vocals are handled by Kelli Ali(formerly Kelli Dayton) of Becoming X fame. Cube Juice makes up the third leg of this tripod group.

The following track’s sound, “Read My Mind,” is as uplifting as its lyrics are depressive. I know I’ve said it before, but this is really a summer track. A musical soundtrack to a fun trip traveling somewhere new and adventurous, or even just a good song to play while folks are on an amusement park ride. For me, it leans the most to the latter, due to childhood memories of music similar to this playing when I was on such rides. But, as I said, the lyrics aren’t as bright and sunny as the music is. Kelli sings about a turbulent relationship and their inability to properly communicate. It’s an odd mixture, but again, if you’re a Becoming X fan, you’re very familiar with such a combination.

The brilliance about this is that, every member seems to make the song better. Such is the case with the track “Dream Machine.” Cube takes Hide’s electronic guitar and drum attacks, fills it up with his electronic distortion and static harmony, then Kelli comes in and lays the track out flat with her simple, yet bold, lyrics that point out how fickle our society is about machinery and physical enhancements. Stating how people of today can easily go and get anything fixed on their person to the point where “turning you on’s like turning on TV.” Granted, everyone nowadays is saying that, but this was made in 2003-2004. So, at that time(though it was only a few years ago) folks were declared “dweebs” for not following the trend . . . ass implants, ladies?

One of the biggest and most rocking out tracks on this collection is “I Spy.” Hide strums his axe with ease and precision. The live drums are loud, noticeable, and hip-moving. Kelli doesn’t stand-out from the music. Instead, she rides inside of it like a piece of paper on a wave. Cube’s additions to this aren’t heavy, either. Also, he just adds to what’s there, builds with it, and doesn’t try to overshine Hide’s work . . . well, at least not until the end of the track.

Oh, and if you’re lucky, you would have snagged yourself a Limited Edition of the album, which has a second disc featuring all the songs from the main album but remixed by the group’s artists and electronic disco techno knob-twister Bryan Black. Yeah, I guess another thing similar to Becoming X, only it features all the songs and not the selective ones that others liked and wanted to bunch up the album with repeatedly. The remixes are just as nice and neck swinging as the originals. The remix album is so solid that it could be a stand-alone disc and could equally compete for dominance against the original work. I know, I’ve faced horrid remixed material, as well. So, trust me when I say that such is not the case, here. But, I will say that the remixes would fair over better with those deeper into electronic music than the average listener. And, typically, the Japanese market(where the album was primarily released).

Out of all 20 tracks, my favorite would have to be “Lose The Boy [Antidepressant Remix].” It has more oldschool Hip-Hop styled drums, and Electronic Madonna-styled voice effects . . . so much so that if you told someone it was a new or unreleased Madonna track, I’m sure they’d believe you. But, it’s just something about it. The original is magical, also, but this remix just does something. It reaches some sadder more sullen place, yet smooths everything out to make the bad seem ok. The electronic effects that are laced throughout the song are just enchanting. They hold you dearly, and craddle you like some type of depressing, yet soothing, lullaby.

I’m sure that a good bit of people have discarded this album simply because of the similarities to Becoming X. But, fans of that superly solid debut album by such a ground shaking Trip-Hop act should look to this as “What if Sneaker Pimps redid their music and added Kelli back into the fold in this day and age?” This is that sound, but not quite. I say that because none of the SPs housed the guitar savvy skills that Hide does. I will say that Cube Juice would put them in for a good run for their money, and the winner of that outcome would have to be witnessed and not predicted. Still, I feel that this album holds a special place for me due to the special place that Becoming X holds. Is that fair? Who knows. Who cares, either? Because if it wasn’t for Becoming X, this album, let alone this group wouldn’t have ever been created in the first place. Top that, cool cats!

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Ulterior Has Fiendish Motives

I’ve just recently found out about this band Ulterior. I was browsing around and came across their name and a picture of the band(the one listed above). So, I decided to see if I could find anything out about them. Well, the only thing I could find that contained samples of their music was their myspace page. So, I sighed, and clicked away. Usually, when I have to do this, I’m treated to a bunch of rubbish and foolishness that makes me wish I saved the last 1 min and 42 seconds of my life that it took me to visit their page. Surprise Surprise. I was in store for something altogether different than whatever I was expecting. The band is just mind melting. It’s music that’s hard to place inside of one category. They blend electronics, with shoegazing and 70’s styled Punk music. It’s like one big giant WTF. What’s odd is that, the music isn’t really that hard to perform. It’s quite repetitive in it’s nature. Yet, for some strange reason, it’s highly addictive and infectious. For me, out of all the music I listed that it combines, I think the spirit of it is closer to that of 70’s punk. With it’s no holds barred style, coupled with the cocky yet drugged out uncertainty. It’s just so dirty, rugged, and unshaped that it’s almost beautiful. I literally used profanity out loud when I first heard their music. Which was their song “Weapons.” What followed that was their more structured, if you could call it that, song “15.” But, what sealed the deal and made me stare into my monitor as if it was going to nod up and down and say or flash the words “Yes, I know. I feel the same way as you. I’m just as blown away.” was the track titled “Dream Dream.” I mean, I’ve heard a lot of retro music, recently. Most I like, not all, but a good bit. THIS, though, this is something completely and totally different. It’s strange enough for me to request that the water from their well in the UK be checked for some sort of contaminant or something. And, if there is anything found inside of the water, it should be bought and sold to the stupid recording artists hogging the radio and TV airwaves with their slapstick joke-for-talent music. I feel like writing/emailing all the major acts that are going to be touring my area in the next few months and demand that they add these guys as opening acts. Seriously, it’s like their music is some sort of hypnotizing rhythm that should be treated as a possible controlled substance, or even something that could contain subliminal messaging demanding your full attention. I can’t go on about them enough. I’m just really hoping that this British 4-piece band comes together and pushes out an album sometime between the end of this article and 76 mins til my death. Which should be just long enough for me to hear it twice. Then, I can brag about hearing it at whatever is next after this life. Do check them out, and tell them to push out an album IMMEDIATELY if you enjoy it.

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Little Dragon Releases Dazzling Flames

I have a thing for foreign music. You can’t call me a traitor to the US scene. I love good music from everywhere, no matter the country of origin. Little Dragon is a band whose music I would declare to be good, in every sense, with their self-titled debut release. Yukimi Nagano is, for the most part, the leader of this four-piece outfit. Her voice is purely enchanting. That is the key tool to unlock and disarm any hesitant feelings that you might have for this gem from Sweden.

Their first single, “Twice”, is also the album opener. Featuring simple synth playing, a piano strumming emotionally repetitive, and Nagano’s voice breaking you down to your core. I was lucky enough to have seen their music video for this song, as my introduction to them. The video, itself, is as warmingly beautiful as the song is. Performed by a team of puppeteers, you’re treated to something so simplistic that it can do nothing but compliment the seductive sounds you’re hearing from this act.

To believe that their entire album sounds like that first song would leave you to be the fool, in the end. They are across the board. Not settling for one sound/style, but rather seeking different structures to demonstrate the jazzy skills that they possess. They never get too heavy, nor do they get boring, either. That’s worthy of praise all its own. A personal favorite of mine is the track “No Love”. The song embodies the finger-snappin’ head-noddin’ moments of the early to mid 90’s sound of R&B(think Mary J. Blige’s My Life album). Nagano has to be some type of medium who is able to reenact, with full precision, singers from a time when music was sung from the soul and not for the currency.

“Constant Surprises” is another one of those Lost Time moments. Having a bassline from Jazz somewhere in the 40’s, with the drumming and slight turntable rewind scratching from Hip-Hop in the early 90’s, and the synth grooviness of Soul from the 70’s, it’s a strange combination that becomes a perfect homogenous mixture. One that sounds like it was destined to be put together. One where you’re left wondering why no one else seems to be pushing this type of sound to the forefront.

“After The Rain” seems more like it would be better suited in a musical than it would on an album that you’ve recently gotten used to at this point. Not saying that the song is bad, just stating that the song would seem to find more love in a Broadway musical where the female lead was having a slight break of the fourth wall and letting it be known that whatever she went through hasn’t pulled her into the depths just yet. Well, maybe not a Broadways musical, but certainly a musical movie. Similar oddity falls on the track that succeeds it, “Place To Belong”. This one isn’t a musical, but it features a good deal of electronic sounds. The style and formula of these songs are, for the most part, a departure in the sound you’ve become somewhat accustomed to by the time you’ve reached these two songs. Again, you’d be a fool to look at these as bad tracks. Could be just bad album placement, if anything? Or maybe not.

You have to take into account the fact that, after those songs, the band seems to have shifted their direction(if that’s understandable for an unpredictable band such as this). The song “Wink”, which is my personal favorite of the bunch, kicks in like a missing Erykah Badu song. The instrumental portion of Little Dragon pushes out a sound that you would have to believe Ms. Badu was aiming for with very limited success of current days. Ms. Nagano does her best interpretation of Badu’s tone and sass. The seductiveness of this track, along with the clapping sound, makes your neck sway and your feet pissed at you if you don’t have them in motion while the song is playing.

This little known band(and I’m only speaking for the American fanbase of them) from Sweden as such a loud and bold sound. They aren’t believers of pigeonholing themselves into just one placement. They are all over the place, but not in any location where they shouldn’t be in. They know their limitations, and they work around them. Little Dragon isn’t just a band, they are an addition in the movement towards more Soulful music. I’m not talking about Soul/R&B music. I’m talking about music from the soul and for the soul. Check them out if you ever get the chance. I know that I’m incredibly grateful that I did.

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